Walt Disney concert hall – Los Angeles, United States – Black and white street photography by Giuseppe Milo
If you like my pictures please support me buying a print from my shop http://www.pixael.com/en/pictures thanks! You can follow me on https://www.facebook.com/giuseppemilophoto https://twitter.com/pixael_com https://instagram.com/pixael/
Giuseppe Milo: Photos
No wedding shines that bright without a pure and loud children’s laughter. Though many couples dwell on inviting kids at their weddings, there is nothing more beautiful and cuter than dressed up flower girls and page boys walking down the aisle, bringing smile to each and every guest’s face. It is always a good idea to consult with the couple what kind of photos they would like you to take and how. Visiting the venue few days before the event might be an excellent advice. That way you will have enough time to make a plan and make one chaotic day go smoothly. Weddings are known for being all glittery and sparkling and it might be difficult to catch the moment. As a photographer you are expected to be at the right place at right time, so set your camera for different shooting conditions. You should be bold with your photos and change the perspective now and then. Since the wedding album will be full of formal and posed photos, think of mixing it up with taking shots from different angles – up high to down low and wide angles. To be able to capture all the glitz and glam of the event, you need to take into consideration the challenges venues poses upon you. I am talking about the lighting. Yes, the biggest enemy of every photographer. There are lots of useful tips you can find online, so don’t be shy to look them up. Image source: Navarra Venues
Feel free to visit me on FB or Instagram, too: https://www.facebook.com/DP.Photography.Images http://instagram.com/dennispolklaeserphotography/ Lofoten, Northern Norway, 12.03.16 Today I´d like to present you the first image from our “Frozen World” Workshop which I´ve co-guided together with my buddy Stian Klo http://www.500px.com/stianklo/, chief viking at LofotenTours 🙂 Are you interested in joining us and to explore this arctic paradise? Check out http://www.lofotentours.com for upcoming Tourdates! Kamera/Camera: Canon Eos 5 D Mark III Objektiv/Lens: Canon EF 17-40mm/ 4/ L USM Tripod: Feisol Elite CT 3472
D-P Photography: Photos
My name is Przemyslaw Kruk. I live in beautiful country in central Europe, which called Poland. I am amateur of landscape photography. Since over 20 years I have photographed scene of nature which I was seeing on my way. Photo camera is my best friend and inseperable companion of my journey – the small one and the biggest trips, when I am spending time on waiting for the best light.
A lot time ago, I have fascinated of photography in IR. I have a spcially place in my backpack for camera dedicated to IR. And since years the photos make the history. Unfortunately is impossible to ‘stop every moment’ in that kind of way. Only the bright light and high contrast allowe to show world in that amazing way.
Commonly we don’t have chance to watch the world in IR. But indisputably, the IR World is very mysterious, wonderful and it can change my point of view.
I invite you to my IR World. Let’s start – visit, watch and enjoy.
More info: Facebook
Anybody who’s been to Tokyo will know that the city is best viewed at night, and these stunning pictures prove it. They were taken by Masashi Wakui, a talented and self-taught Japanese photographer who has expertly managed to capture the capital in all of its nocturnal and neon splendor. Navigating the winding backstreets and alleyways of Shibuya, Shinjyuku and various other districts, Masashi creates an almost surreal atmosphere with his kaleidoscopic portrayal of Tokyo by night. He uses high-performance compact cameras and then alters the colors in order to create a vivid and magical quality to scenes of everyday life in the city. If the pictures below don’t make you want to dust off your camera and catch the next plane to Tokyo, nothing will.
Peter DiCampo will be working on “What Went Wrong,” a participatory photography project that examines the actual value of aid money sent to Sub-Saharan Africa. Zun Lee will be working on a project called “Fade Resistance” which “seeks to restore the narrative impact of thousands of found African American vernacular Polaroid photographs.” Lee will be working to develop an interactive archive for the collection that he hopes will be used to inspire “multidisciplinary conversation about ongoing issues of visual representation” in the African American community.
In addition to the two fellowships, Magnum will also be offering a developmental grant to Zara Katz and Lisa Riordan Seville’s project “Women on the Outside,” which will look at the experience of women with incarcerated loved ones.
In the past few years at least, that seems to be the story. At museums, they’re swinging selfie sticks into priceless works of art and turning cathedrals of culture into amusement parks. At concerts, they’re blocking the views of fellow spectators and distracting the performers. At restaurants, photographers’ bad behavior has “reached epic proportions,” as diners stand on chairs and use appetite-spoiling flash to document their dishes. At vacation hubs, narcissistic, reckless tourists are turning historic sites into “photography props” for “a viral post on Facebook, Instagram or Twitter.”
Anxieties about damage to property, security, and copyright are prominent among those wringing their hands about photography in the digital age. And, of course, there are certain spaces where photography can do a lot of damage. Photographers can compromise national security by photographing details of structural components of bridges and tunnels, for example. They can pose threat to copyright by making high resolution images of intellectual property for duplication. Flash can damage old canvas and brazen, careless photographers can knock over valuables.
But those worries are separate from what seems to be going on today, namely an ideological concern that photographers are not fully experiencing what’s in front of them. “People taking photographs of their food in a restaurant instead of eating it. People taking photographs of the Mona Lisa instead of looking at it. I think the iPhone is taking people away from their experiences,” photographer Antonio Olmos told the Guardian in 2013, expressing a common sentiment among those condemning popular modern photography patterns.
Those who share Olmos’ view tend to express it by enacting restrictions or outright bans on photography in a variety of spaces. In New York, restaurants including Momofuku Ko in New York, and Chef’s Table at Brooklyn Fare have forbidden photography. At Grenouillere in northern France, Chef Alexandre Gauthier justified a photo ban to the Daily Mail this way: “I would like people to be living in the present. Tweet about the meal beforehand, tweet about it afterwards, but in between, stop and eat.”
Before a series of concerts at the Hammersmith Appolo last year, singer Kate Bush wrote a note to her fans on her website asking them to refrain from taking photos: “I very much want to have contact with you as an audience, not with iPhones, iPads or cameras. I know it’s a lot to ask but it would allow us to all share in the experience together.” In the past few years, other artists, including the Yeah Yeah Yeahs, Prince, and She & Him have banned photos, or strongly requested that none be taken. Savages requested no cameras at performances with this note: “Our goal is to discover better ways of living and experiencing music. We believe that the use of phones to film and take pictures during a gig prevents all of us from totally immersing ourselves. Let’s make this evening special.”
According to journalist Rupert Christiansen, photography was banned in almost all museums and galleries 20 years ago; only in the past few years have museums started to change their policies. While concerns about safeguarding the artwork have often been a justification, Jonathan Jones, writing in the Guardian earlier this year, typified the more puritanical argument about when he called photography a “spiritual menace” that disrupts the idea of a museum as “place of calm contemplation.” “Modern tourists, it seems, cannot enjoy looking at art without photographing it, and themselves in front of it. The camera has become a prosthesis for looking,” he wrote. “We don’t need to concentrate on works of art and remember them: a smartphone can do that for us.” (Jones reversed his position a month later.)
Anyone who’s sat in a restaurant, attended a concert or visited a museum knows that photography in public places can be disruptive, distracting, and downright rude. But it’s time to do away with bans, some photography experts argue. Not only are they ineffective, but they fail to recognize modern notions of how photography relates to people and places.
Banning photography in an age where there are more cameras than ever is not just misguided, it’s a near impossibly says Stephen Mayes, Executive Director of the Tim Hetherington Trust. “I don’t see how there can be more restrictions on photography really, simply because the visual image is being so integrated into so many places,” he tells American Photo.
According to data from the now defunct website 1000Memories, photo taking has exploded since the turn of the millennium. In 2000, it estimated about 86 billion photos were taken a year. By 2012, that estimate jumped to more than 380 billion photos, and the following year, Yahoo! estimated that 880 billion photos would be taken in 2014. Last month, the Times claimed one trillion photos will be taken this calendar year alone. Since wearable cameras like the Narrative Clip, which automatically snaps an image every 30 seconds, have been introduced, and as they grow in popularity, the number of photos is sure to skyrocket further.
Museum officials have start to come around to the idea that photographs simply can’t be stopped. “You are fighting an uphill battle if you restrict,” Nina Simon, director of the Santa Cruz Museum of Art & History, told ARTnews’ Carolina A. Miranda.
“Even in the most locked-down spaces, people will still take pictures and you’ll still find a million of these images online. So why not support it in an open way that’s constructive and embraces the public?”
In 2010, the Museum of Arts and Design followed MoMA and other New York institutions when it lifted its ban. “In an age of blogs, iPhones, Facebook, and WikiLeaks, MAD realized that we could not control the dissemination of images the way we had in the past,” the museum’s director of public affairs, Marisa Bartolucci, told Hyperallergic. This year saw more longstanding holdouts follow suit, including Paris’ Musée d’Orsay.
Those who defend photography bans in museums frequently site Fairfield University psychologist Linda Henkel’s study about “photo-taking impairment effect,” which found that taking a photo of something makes people less likely to remember it. Her evidence is compelling but beside the point, Mayes says. By taking photos at museums and other places, people aren’t trying to remember an experience, they are trying to experience it through images. And when they relay that experience later, the image is not used to trigger a memory, it is the memory. Miranda makes a similar argument: “Twenty years ago, a museumgoer might have discussed an interesting work of art with friends over dinner. Today, that person is more likely to take a picture of it and upload it to Facebook.”
In this interview with Tracy O’Neill, Social Media Curator at the New York Public Library, Sally Mann reminisces on both her past and the creation of her memoir Hold Still. Mann’s memoir is undeniably personal and revealing, which brings to the forefront questions of ethics, memories, and privacy. Where should photographers draw the line of privacy, and how much is too much to show? In Mann’s opinion:
“It’s a deeply ethically complex situation when you’re photographing someone because you as the photographer hold all the cards. You always do.”
When asked how her documentation of loved ones began, Mann recalls “I started basically by stringing this whole concatenation of stories together that I told for years…When you string them all together you really have something.” It is the retrospective nature of Mann’s process that produces images that are both deeply personal and honest.
In Mann’s case, the struggle between ethics and art, privacy and publicity are seemingly essential to her work. “I seem to push things to the limits, even without meaning to in some cases,” she says. Photographing those nearest to her, whether her own children or her husband, Mann must delve into the most private, and sometimes painful corners of her life. This exploration of those closest to her through photography is a source that creates beautiful, memorable images.
The exhibition is entitled Measure, so Enrich has developed a fictional scenario where the New York gallery becomes the basis of a new unit of measuring.
“The virtual world depicted in the piece shows buildings that are not being measured in the metric system or in US customary units anymore,” said a statement from the photographer’s studio.
“Instead, in an attempt to show the admiration that the artist professes to this gallery, he decides to give the gallery a new role: a measuring system whose main unit is the storefront,” it states, adding that one “storefront” equates to 30.5 metres, or 100 feet.
To back up this claim, Enrich searched through architectural history for other buildings with the same size and proportions, and stumbled across the pavilion created by Catalan architect Josep Lluis Sert for the 1937 Expo.
the cube-like form features a series of frame shapes overlapping and superimposed over one another that filter the surrounding environment, composing snapshots of the outside environment as it evolves.
The post studio_GAON frames surroundings with mise en abyme photography studio appeared first on designboom | architecture & design magazine.
Comprising five overground storeys and two basement floors, the building accommodates an entire commercial premises for the photographer – giving him two studios and plenty of additional office space.
A series of frames were created on the facade, adding emphasis to windows and providing unusual openings.
“The reason we constructed frames was to filter the surrounding environment, which changes fast in an unforeseeable manner,” explained architects Hyoungnam Lim and Eunjoo Roh.
“Another reason was that the owner, being a photographer, looks at the world through a frame all day.”
They named the project Mise en Abyme – a French term used to describe the visual experience of standing between two mirrors, seeing an infinite reproduction of your reflected image. It translates literally to English as “placed into abyss”.
“The cube we made has frames continually overlapping inside to make spaces superimposed,” they explained.
“Through different frames on each floor, the building embodies the repeating and transient flow of time, the character of the metropolis.”
“Images of Discovery” marks the first time that the MIT Museum has designed an exhibition with interpretive and interactive aspects alongside a more traditional gallery show. For this exhibition, images made by photographers will be hung in a traditional gallery setup, juxtaposing stations with more information about the photographers’ techniques. This approach will allow visitors to dig deeper into the image-making process, and the stations will aim to let visitors create their own images, which are then posted to the museum’s Flickr feed.
© Samara Vise—Courtesy of the MIT Museum
In designing the interactive stations, the museum had to carefully choose a technique from each photographer that would inspire visitors to make their own works based on the originals. “We don’t want to make it impossible,” says Susan Anne Timberlake, senior exhibition developer, in an interview with American Photo. “The Berenice Abbott bouncing ball is a good example. It’s still challenging to get an image that looks like hers. There are issues of timing and sometimes the ball doesn’t bounce the right way. We’ve seen people trying it again and again and experimenting with the timing. They have a goal in mind of what they want the picture to look like and they are making repeated efforts to create that. In that regard, it’s been a success.”
American Photo’s editor-in-chief, Miriam Leuchter, spoke with Sarah Greenough, senior curator and head of the department of photographs at the National Gallery of Art about the show and her institution’s approach to contemporary photography.
The Memory of Time will be on view until mid-September, but unlike some of your exhibitions, it won’t travel to other museums. So far I’ve seen it only through the catalogue (published by Thames & Hudson). It looks great, but I really want to get to Washington to see the show in person.
For many of these things, the size of the pieces matters so much and of course you can’t really get that through a printed reproduction. Many of them are just huge— the Vera Lutter and the Subotzky & Waterhouse Ponte City pieces are enormous— and that scale really affects how you respond to the work. It is a show that needs to be seen. We are pleased with how the catalogue turned out, but I always encourage looking at the original objects.
Courtesy of the National Gallery of Art, Washington
And your photography department is only 25 years old?
Photographs first came to the National Gallery in 1949 when Georgia O’Keefe donated the large and important key set of Alfred Stieglitz’s photographs—1600 Stieglitz photographs—but no more additions were made to the photography collection. I got there in 1978 and was charged with organizing and accessioning the Stieglitz collection, and once that was done we then did a series of photography exhibitions in the ’80s that directed more attention to photography. It was as a result of those shows that in 1990 the trustees decided that we could finally start collecting photography, 151 years after photography was announced.
How does contemporary photography fit in with your program?
We haven’t done a lot with contemporary photography in the past. In 1989 we did a big survey show, “On the Art of Fixing a Shadow,” which celebrated the 150th anniversary of the announcement of the process of photography, and that included work from 1839 to 1989. Since then we’ve shown contemporary photography, but more when it has been by established photographers—for example, Harry Callahan or Robert Frank. But we’ve never had an exhibition that has focused exclusively on contemporary photography until this one.
It feels like a real statement to me. The way you’ve chosen and organized these photos makes it seem as if you’re trying to say something about the role of photography now and the museum’s relationship to photography now. Is that fair?
Yes, I think it’s fair. We’re certainly not suggesting that this is a survey of everything that’s going on in contemporary photography. We’ve used the issues of time and memory and history as a way of focusing our acquisitions and the exhibition because we felt that a number of photographers were exploring these issues, but it is certainly not representing everything that is going on, and we don’t claim that it is in any way.
I think it would be hard to represent everything that is going on! But it is interesting to look at these trends and the historiography that’s happening in this show—it feels very cogent.
Well, I do feel that a lot of contemporary photographers are looking at the history of photography and questioning how older photographs have informed our contemporary understandings, for example, of race. You certainly see that in the Myra Greene photographs, where she used that older 19th century printing process, the ambrotype, to allude to photography’s historical role in teaching people how to see African-Americans not as individuals but as racial types.
Courtesy of the National Gallery of Art, Washington
But, I think the exhibition also shows contemporary photographers are interested in history and the passage of time more broadly, not only in how it relates to the history of photography. Carrie Mae Weems reflects on how African Americans have been presented not just in photographs but in paintings, as well—the title of one in the show is “After Manet,” so you know she is looking back to 19th century painting and thinking about how African-Americans were or were not included in that representation. And the exhibition also includes a lot of works where other photographers are looking at broader issues related to history, like Mark Ruwedel showing us the impact of 19th century railroads on the 20th and 21st century landscape, reminding us of the impact that our western expansion had on the land itself.